PRESS for "DEATH BIRDS" :: CLICK TO EXPAND
CLICK CLICK CLICK IT YES
[COOL JUSTICE] "I remember first seeing Grandaddy play in front of a screen filled with projections of running animals. It was my first firsthand music-multimedia experience and it was a buttered lobster for my senses. Local clan House of Badger happens to make a habit of adding rad visuals to complement its music—moody digi-rock that is the ideal companion for a visual-arts display. For those who love music videos so much they want to see one live, attend. What's more, the show benefits the Public Interest Law Project. With an appearance by ambient percussion pushers Deelay Ceelay, this is one show you can't ignore." 7:30 pm. Holocene, 1001 SE Morrison St., 239-7639. $10. 21+.
-MARK STOCK.
link here :: localcut
"Explorative melodic pop isn't the most common genre to play around with. Portland, Oregon, trio House of Badger could have been led astray on Death Birds, the group's debut, but though Amanda Kelly, Charlie Gallipeau, and Liam McNamara mix bass, drums, synths, and vocals with mandolin, saz, and kitchen copperware, the band manages to keep the material focused, minimal, and primal.
Kelly has a spectral and sensual voice that complements the unpretentious arrangements and somber lyrics found on shoegazer soundalike "Vultures," phoenix fermenter "Darkness Is Light," and dissolution discourse "Death Birds in Trees."
House of Badger steers away from total doom and gloom with psychedelic and surf-tinged guitar and some middle eastern vibes, particularly during Siouxsie and the Banshees-esque "Darkness Is Light" and its opposite twin "Into The Sun," which is dominated by Kelly's six strings and McNamara's authoritative percussion. Track four, the Shins-like "You Give Yourself Away," is a pop pleasure that is the axle the other tunes spin toward or from. Ocean-tinted instrumental "Dragonfly Machines (Spy Birds)" ends the 20-minute album on a high note, evoking Seattle multi-genre artists Tuatara with the song's cinematic approach."
-Doug Simpson
House of Badger advertise themselves as being a "music and multimedia experience." I can only imagine what their live shows are like with projectors and live video images as a backdrop because their debut album Death Birds is, in itself, a great listen.
The opener "Vultures" sounds like something right off Portishead's latest album. The way that vocalist Amanda Kelly sings the chorus, "Someday we'll change our ways" continues to ring through my head; taunting me as if I am doing something that I should be regretting.
"Darkness is Light" sounds like it would be fascinating live as it is a brooding rocker that incorporates lots of percussion, making it sound almost tribal.
"Away" is a great track for minimalists especially during the verses as Kelly's vocals are accompanied by only the rhythm of the bass (which is fairly well-hidden) and drums and some random guitar plucking. The minimalist approach continues on "Death Birds in Trees" with a haunting twist as Kelley calmly sings the chorus "I'm not afraid / Of death birds in trees" overtop of minor guitar chords.
Death Birds is a varied album with everything from full-on instrumentation to very minimal instrument usage, all with a distinct gothic undertone. House of Badger is what you'd get if you mixed Portishead and Evanescence. Never having seen a live show, I don't know if this album captures the "music and multimedia experience" or not. I do know that it is a pleasurable listen.
-Tim Wardyn
link here
Maybe, just maybe, Santa will bring me a turntable with a USB port this year. If that happens, I'll be confronted with a mountain of decisions.
Do I start by ripping my dad's outlaw country albums? I really miss listening to a handful of Solomon Burke obscurities from the '70s. I once bought a huge cache of piano jazz albums from a jittery guy in desperate need of cash; it'd be nice to put those in a digital format. But truth be told, I'd probably begin with "new wave" and "college rock" titles from '79-'87.
I have a pretty healthy collection of rarities by the likes of the Blake Babies, Pere Ubu, Let's Active, the Bush Tetras, Gang of Four and Public Image Ltd. I'll bet that the members of House of Badger already own a lot of that stuff. The Portland band's new album, Death Birds, immediately recalls the excitement and mystery of the left-of-the-dial heyday.
link here
In their hometown of Portland, House of Badger are known for their unique mix of pulsating projected videos (which can be found on their website) and lush, creative live music. Death Birds, the band’s full-length debut, takes a similar cinematic approach, reflecting the dynamism of House of Badger’s live show while highlighting their proficiency with instruments beyond the usual suspects.
The first track, “Vultures,” layers psychedelic guitars on top of agitated rhythmic synths in satisfying contrast to frontwoman Amanda Kelly’s sensuous vocals. During a beautiful, simple chorus, she mimics the accompanying instrumentals and then breaks for a reeling standout guitar solo. Similarly, “Away” centers on Kelly’s unruffled melodic vocals, which build in intensity and then back-step into something more delicate, à la Debbie Harry. Meanwhile, electrified strings haunt from behind strong guitars and steady percussion. In “You Give Yourself Away,” she chases lush guitar with sweet, atonally crooned “bah-bahs” that repeat throughout the song.
In “Darkness is Light,” intriguing mandolin, Turkish Saz and Arabic instruments feel right at home next to the Les Paul guitar and alt-rock drums. Kelly’s dark inflections wander easily alongside the unexpected accompaniment. “Into the Sun” begins like the opening music of a horror movie, screeching into something halfway between a klezmer folk song and hard rock. Taking the album in yet another direction, “Dragonfly Machines (Spy Birds)” sidetracks into the psycho-surf-rock arena with the rounded notes of a xylophone offsetting scratchy guitar work and streamlined drum rolls.
For the final seconds of the album, the music changes gears yet again, this time sauntering out with a jazzy instrumental that conjures up images of an underhanded pursuit scene from a 1920s murder mystery film. With any luck, Death Birds will have an equally exciting sequel.
link here
This hump day dance party gets started joyfully with a story about birds who violently “wait for the hour they can come down.” But as the song progresses I sense the narrator is speaking of a society who feels they are morally correct in wreaking violence and havoc around the world simply because they enjoy a feeling of superiority over the rest of the world. The narrator is hopeful forever, with the refrain “someday we’ll change our ways” returning to haunt and uplift the soul dancing to the very interesting rhythms put together by this excellent band.
Of course, it could be a tale of a morally superior person taking out their insecurities on another individual. That’s one of the things that makes this a perfect song – it can be heard from different viewpoints. The other thing that makes this a very cool song is the power of the bass, drums and synths working together instead of against each other. The shoutout tune, Into The Sun, is a beautiful voyage into psychedelia with all the crispness we are able to enjoy with modern recording equipment.
An energetic tune, calling for an exciting evening of intense dance. Fantastic ending.
link here
A month or two back I reviewed an album called Death Birds by Oregon based experimental band House Of Badger. I was mightily impressed and curious about the visual elements of the band's live shows. I contacted lead singer Amanda Kelly and asked her about not only their shows, but the inspiration behind Death Birds, and of course the band's future plans.
Jeff: Living in France I haven't had the opportunity to experience a House Of Badger 'live' show, I would think that would be a fascinating evening. Please, can you try and describe how you set about creating an audio-visual show?
Amanda: The live show is a contrast of technical drumming, and musicianship, with ethereal overtones and sonic transitions from song to song. While our show is improvisational, we can sound exactly like the album, when we want to. The video could be described as 'abstract machines'. It consists of stark urban landscapes, natural landscapes, and industrial, human-made artifacts. All of these elements evolve and blend with special effects and motion graphics.
While the songs are tightly structured, every arrangement is open to improvisation at any moment. Due to the improvisational nature of our music, I am currently working on technologies to synchronize the video to our music, rather than playing to video, like a lot of bands do.
Were there any bands that inspired this approach?
The point of this band is to do whatever we want. Because I'm the singer, I end up coming up with a lot of the melodies, but everyone in the band has artistic expression. So I can't speak for everyone. Radiohead's use of Max/MSP software came to my attention in 2007 albeit long after they started doing it. Musically, I really admire their musicianship and use of space and melody. I've been influenced by Stereolab for a long time, and I grew up in the 80's, so those sounds are hardwired into my brain.
How did the songs on Death Birds develop?
I can't exactly verbalize how it happened. Sometimes it was Liam (McNamara) on his acoustic and electronic drums, and Charlie (Gallipeau) on his bass guitar, Theremin effects, and moog synth and between the 2 of them, 4 or 5 instruments being played simultaneously, then I would turn it into a pop song. Sometimes it was me at 4 am with an acoustic guitar.
Does the visual image come first - or does the visual representation arrive later to illustrate the music?
The music always comes first. My video art, however, has been driving new music out of me in my solo project. It's definitely more abstract and electronic. I do video installations in collaborative, multimedia performances. There are a few shows coming up, check out abstractmachines.net. That's me.
How has the Death Birds album been received?
It's surprising to us how much people like this record. We have received some excellent reviews. We had only played together for 10 months when we recorded it, and everyone except me, including our producer Rob, was sick when it was recorded. People would throw up in the bathroom and then lay down their tracks. It was recorded very quickly, probably 10 days total. It was our first record. A Romance of Numbers will be better.
What is the audience reaction to your shows. What feedback do you get?
A lot of people think we play to sequencing/programmed music. Menomena has also mentioned that a lot of people think they play to sequencing, when they just create a lot of sound for three people. A lot of people also think we hire a video artist or videographer. The video installation is much more stark and modern/postmodern, than psychedelic. It's all digital. It definitely looks nothing like 'trippy' or 'psychedelic' video. A friend described the video as 'metropolitan' looking. ha!
Has Oregon got a thriving experimental scene or are you out there on a limb?
It's weird booking shows because, we're ‘heavy’ and ‘experimental’ but also really ‘poppy’. A lot of bands do either/or. Touring, with current fuel prices, is very expensive, so you have to be selective.
There are a whole host of styles successfully meshed within the tracks from say, “You Give Yourself Away” to “Darkness is Light”, that has a lovely eastern vibe, ranging from multi-layered to minimalistic. What music and art are you particularly inspired by?
For me, it's impossible to separate concepts from the senses, visual to auditory and emotional. So far as influences, I can't speak for the rest of the band, but I'm influenced by Carl Jung, Joseph Campbell, Radiohead, Stereolab, Joy Division, Pink Floyd (Waters era), and art that is stark and modern.
"Darkness is Light" evolved out of stream-of-consciousness verbalization. After I started thinking 'darkness is light' I was reading The Power Of Myth by Joseph Campbell and saw the same phrase. It's pretty funny that 'darkness is light' is also a mantra of the Church of Satan. The song is played on a Turkish saz. Ordering traditional Turkish/Arabic CDs online got me on some sort of 'list' at the Department of Homeland Security; sometimes they open my mail, stamp their logo on it, and send the CD back to the seller. Pretty hilarious. Welcome to America.
What's the next step for House Of Badger perhaps, hopefully, another album?
Yes! At this point we'd like to find a label that we identify with on an aesthetic level, to release A Romance of Numbers. It's literally a ‘math-rock’ album. It's much more aggressive and driving than Death Birds. One of the newest tracks for A Romance of Numbers is called "Clocks." "Clocks" has 4 time signatures: 7/4, 4/4, 13/8, and 6/8. It's melodic and catchy, like Stereolab, but much more aggressive at times.
There is also an album concept that involves Noam Chomsky. It's a metal album. We'll have to see if we like the results once we've spent some more time with it. Then there's the video art and getting it to sync up to our live show in a sophisticated way. Finally, a music video for “Vultures” is on the way, a very talented filmmaker is working with us.
Thanks Amanda for taking the time to answer my questions. Please keep us posted with the new album A Romance Of Numbers. Hopefully people reading this might be inspired to get along to a House Of Badger show.
Please read the review for the Death Birds album that appeared on Blogcritics in August 2008. Also have a look at the House Of Badger website.
-Jeff Perkins
link here
Originality. Instrument command. Song-writing ability. Primal prurpose. Add a heavy dose of spiritual delving in angst worthy of Schopenhaur’s existential realm, and you’ve just dialed into the perfect ingredients for the perfect cerebral listening experience.
Amanda has a minimalist approach which carries both a philosophical as well as primal edge that actually means something. She is quite masterful at changing moods in a heartbeat and delivers near masterful transitions. This is a woman truly in possession of her passion and emotions.
Let me tell you, this ENTIRE CD seethes with talent, song-writing skill, and emotive quality, and the idea of any searchingly respective music fan missing this is a bitter shame. Percussionist Liam McNamara throbs with a Bonham-like force. Keyboardist Charlie Gallipeau provides spacey keyboard and moog support which lends an expansive import to the songs.
Vultures starts the seven song compilation, definitely setting the tone for the rest of the disc. It is mesmerizing, expansive and eerily Floydian. The melody of the chorus lofty and angelic, poising a simple and transcendental delivery.
You can find this superb recording at: houseofbadger.com, Music Millennium, Cdbaby and itunes.
-Ty
link here
House of Badger describe themselves as a pop/electronica/experimental band, and as vague as that categorization is, it actually sounds about right. This is a weird band that writes weird songs and performs using weird instruments. However, they still have one foot (barely) in the pop realm; they’re the Talking Heads by way of Portland, Oregon.
I mentioned the weird instruments, right? In addition to guitar and keyboards, singer Amanda Kelly also plays mandolin and Turkish saz (another plucked string instrument – thanks Wikipedia). Bass player Charlie Gallipeau rocks out old-school electronic sounds thanks to his Moog and theremin skills, while drummer Liam McNamara puts down his sticks on occasion to play the guiro as well as “the pans,” which I can only assume is a pan flute.
How an unsigned indie-rock band can afford all these instruments is a mystery, but they certainly know how to use their unique instrumental capabilities to craft beautifully odd pop songs. “Vultures” and “Away” combine stark riffs with subtle ambient electronic effects to stunning effect, while the more upbeat “You Give Yourself Away” and “Into the Sun” crank up the rock and focus on the spectacular voice of Amanda Kelly, who has the ethereal quality of Siouxsie Sioux with the power of Amanda Palmer from the Dresden Dolls. Clocking in at only 30 minutes with seven songs, the only fault of Death Birds is that it leaves you wanting much more.
link here
Welcome to Singled Out! where we ask artists to tell us the inside story of their latest single. Today Amanda Kelly, frontwoman for experimental electro rockers House of Badger tells us about "Vultures" from their new album "Death Birds". We now turn it over to Amanda for the story:
""Vultures" started out as a completely improvisational jam that Liam and Charlie were doing. Liam was playing drums and Charlie was messing around with his old Moog synth with some sort of trigger effect, as well as working his theremin through some delay, and playing his bass. It was sounding really percussive and cool. As soon as they got into it, they stopped after about 60 seconds, and I breathlessly exclaimed, "PLEASE don't stop!" They looked at me silently, and started the jam up again.
As I listened, I drifted away in my mind. I sat alone in the studio for days afterwards composing the keyboard and vocal parts. I began thinking of the mental illnesses that strike humanity, and the false labels we use to divide ourselves from one another, and to distinguish ourselves above others.
I think of a "vulture" as a person who takes advantage of others and sucks them dry, in the belief that we live in a world of "eat or be eaten." Often these individuals suffered massive amounts of abuse as a child; however, rather than learning to grow and evolve as a human being, they continue the cycle of negativity by perpetuating abuse upon other humans as they grow older. A "vulture" is often a narcissist. A narcissist believes that all actions taken by others relate to the narcissist. Narcissists are often paranoid in a delusional manner, because in their mind, everything, absolutely everything, relates to THEM. Therefore, the first line I say, "I've been cast away… and it's off the records now… when they're trying to get you" embodies the past hurts and present paranoia of these narcissistic vultures. They are "trying to catch you" and hurt you, like they themselves were hurt, long ago, and they will stop at nothing, for they cannot stop.
Conversely, it is arrogance to separate ourselves and to distinguish ourselves from the rest of humanity in assuming that "people with mental illnesses are inferior to 'us.'" It is the same arrogance that guides the United States, for example, to believe, arrogantly, childishly, and destructively, that perpetuating violence upon another culture is okay, because "our ideals are better than theirs," and, "the only reason that they are attacking us is because they are jealous of our culture or freedom." Therefore, the chorus of "Someday, we'll change our ways," states that as human beings, we are all the same…. And if one of us is a vulture, then ALL of us are, in some way. Also, it's a sarcastic comment. "Someday we'll change our ways," but right now, we're too lazy to care, or to take action, or to contribute to positive change. Instead, we'll sit back, and do nothing."
Hearing is believing. Now that you know the story before the song, listen for yourself and learn more about the album - right here!
link here
An interesting amalgam of mathy guitars, moody female vocals and a decidedly eclectic rhythm section. Amanda Kelly is responsible for the first two elements, and she seems to have a solid handle on whatever it is these folks are doing. Thoroughly unconventional, but well within the mainstream. A fun curiosity.
link here
Acts which pursue that something extra within their music have a fine line to walk.
Go too experimental, you end up losing most of the people you’re trying to reach 30 seconds into the first song. Not experimental enough – the music’s basically irrelevant, not standing out in the crowd or more gimmicky than anticipated.
But those able to strike a balance can get their point across. As a result, you end up with music that expands the form while still being populist enough to draw attention.
Portland, Ore.’s House of Badger has, for the most part, found their balance. The trio has clearly superb musicianship, but they know their way around a good rock song and make the mix work well, right from the first note of “Vultures”, the first track of their debut, “Death Birds”.
Lead singer Amanda Kelly has a singer-songwriter timbre to her voice, which lends “Vultures” a softness but also a sense of foreboding, when combined with the sparse arrangement – built, as so many of House of Badger’s songs are, around the remarkable drumming of Liam McNamara.
McNamara’s skill brings to mind those drummers who tended to bring jazz elements into their playing, such as Stewart Copeland or Smashing Pumpkins’ Jimmy Chamberlain. Around that, Kelly and Charlie Gallipeau build songs with instruments that range from the Middle Eastern to the antique.
These songs are wide-ranging in style and scope, from “You Give Yourself Away” and its power-pop underpinnings to the downright spooky atmosphere of “Death Birds in Trees”. The only stumble – and it’s a slight one – is the sameness that creeps into a song like “Away”, but this is a nit, and House of Badger’s first effort has good points that well outweigh the one bad.
-Jonathan Tully
link here
The band has a taste for Middle Eastern instruments and tones, and when they drift more towards this left side of the equation, they put together some nice songs. "Darkness is Light" develops simple motifs into a hard, focused piece of music, with strident singing and key riffs that match the big-theme lyrics. The song galvanizes the band, as they stomp through "You Give Yourself Away", which could have been the best Foo Fighters song of the decade but sounds even better with a female vocalist and measured dynamics. "Death Birds in Trees" maintains the momentum even as it slacks on the speed, a nice ballad with strings and yet few frills, allowing the vocal to do the work. At least until the coda, when the action builds and the guitar takes over. And "Into the Sun" has nice folkie underpinnings to its rock song format, before it takes off into an Eastern-like guitar solo.
Death Birds ends up playing like a live concert. It takes the band a couple songs to find a groove, but once they hit that middle section and find their voice, House of Badger kick audio ass.
-Dan Shvartsman
link here
When: Sat., Aug. 30, 6 p.m. 2008 at Audiocinema
For this evening of "multimedia art," there will be badgers (as in local band House of Badgers), birds (as in Death Birds, the textural new EP from the aforementioned band), and a bevy of artistic expression resonating off the cavernous walls of under-the-bridge locale AudioCinema. Fifty-plus artists are involved in the performance, so it's an ideal spot for House of Badger to host an EP release, where they introduce their art-pop stylings punctuated by enigmatic singer Amanda Kelly. Her raw howl is straight-up early PJ Harvey, but those introspective confessions of loss and confusion are all her own. EAC
link here
It's not surprising that local rockers House of Badger have started to receive radio airplay, because the song's on the band's new record Death Birds sound readymade for a prime slot on any modern rock playlist. I've seen a few Echo and the Bunnymen references tossed around in some of the group's writeups, but it must be for atmosphere only; instead, thinking a slightly meatier and more knotty Point Juncture, WA. Tonight is the band's CD release show, with a video backdrop aiding the promised "multimedia experience."
-Michael Mannheimer
link not available right now but coming soon.
Put the words ‘experimental’ and ‘psychedelic’ on an album's release and I have to admit that curiosity will always get the better of me. In this case, I am so glad that it did.
Rather than kill the cat it has added to my musical world by opening my eyes to something rather special. The bizarrely named House of Badger are from Portland, Oregon and their self released album Death Birds has arrived. Be careful though, there is a great chance that this may slip under your musical radar – and it really shouldn’t.
The band consist of Amanda Kelly (lead voice, guitar, keys, mandolin, and even a Turkish saz), Charlie Gallipeau (bass, vocals, moog and theremin) and last, but most definitely not least, Liam McNamara (drums and percussion). Apparently the live shows are a heady combination of music and visual imagery, art styling and psychedelia. I only wish I could get to see it.
Death Birds is a highly accomplished, seductively compelling and superbly performed album deserving of a higher accolade than this modest columnist can give it. Fronted by Amanda Kelly, who possesses a wonderful rich and smooth voice, House of Badger combine together to produce some simply irresistible and intoxicating music that is highly effective. They range from shades of the psychedelic San Francisco sixties (Jefferson Airplane) through melodic pop and experimental rock and never once take their collective finger off the pulse.
Astute enough to let the music speak for itself, they never overstay their welcome or overplay their contributions. They leave just the right amount of space and room at just the right time and places. It is all held together by the excellent percussion work of Liam McNamara who not only copes with some tricky time changes but moves the whole album forward keeping it utterly fascinating in the process.
Tracks such as the opening “Vultures”, “Away”, and “Darkness is Light”, a track with a lush eastern vibe and shades of Grace Slick, create a superb visual atmosphere. “Away” has a simple yet hypnotic guitar chime, and “You Give Yourself Away” goes power pop with Amanda’s voice shining at the front. “Death Birds in Trees” is haunting and sensual with an immediacy that maybe a bigger studio may have tinkered with and lost. “Into the Sun” veers from commercial towards the edgy and back building around a central, lush theme. “Dragonfly Machines (Spy Birds)” ends the album with some wonderful musicianship.
This is an album that for some reason was self released. I have no idea why Death Birds was not picked up by a label but I am also kind of glad that it wasn’t. There is a freshness, a belief, a commitment and an intimate immediacy to this album that sets it apart and places it higher. So my advice, for what it’s worth, is to never be put off by the word experimental. After all if we had been, the sixties would never have happened and I’d be writing this by quill.
For more information about House of Badger, visit their website.
-Jeff Perkins
link here
Moody, textured music that can soar or rock as needed. This event includes art and visual installations for a the third annual AC/VC (AudioCinema Visual Collective) show. 9 p.m. Saturday, Audio Cinema.
link here
Local art-rock trio House of Badger have racked up comparisons to moody pop icons Echo and the Bunnymen and Siouxsie and the Banshees, but their sound is more noirish shoegazer than wiry post-punk. They’re celebrating the release of their new album, “Death Birds,” with a multimedia extravaganza that’s part of Audio Cinema’s visual collective art exhibit. With a sound that’s dark and psychedelic, it’s the perfect soundtrack for all manner of luscious soundscapes and visual interpretations.
-Barbara Mitchell
link here
AudioCinema's third annual AudioCinema Visual Collection exhibition opens this weekend. It's an immense warehouse show exhibiting over 50 artists in a "mixed media event," with everything from painting to sculpture to installation to performance to fashion. Featured artists include veterans Troy Briggs, Samantha Wall, Bean Gilsdorf, and Cyrus Smith, as well as new additions Chris Haberman, Alex Steckly, and the House of Badger. The D'Merde Salon will also be present with a fashion show. With the mission statement, Build community, culture, and camaraderie in a non-competitive atmosphere, AudioCinema has succeeded in presenting a wide, visually sumptuous, and surprisingly uncrowded variety of work in their annual AC/VC programming.
Opening reception • 6pm-2am • August 30
AudioCinema • 226 SE Madison
link here
What the hell is a House of Badger anyways? I don't know if I've ever heard of one of those. Come to think of it, I don't think I even know what a badger looks like, let alone the type of dwelling that a badger would reside in. Regardless of the odd name, this Portland trio's sound, though at times quite minimalist and spacey, is a completely engaging experience.
Blending elements of surf to progressive to psychedlic rock, at first I didn't exactly know what to think of House of Badger, but after hearing the track "Darkness is LIght," an image of early Jefferson Airplane popped into my head - but with a much more talented and updated Grace Slick. House of Badger's sound is a unique blend of catchy melodies and experimental guitar riffs... led by singer/guitarist Amanda Kelly's smooth yet intoxicating vocals, HOB's newest release Death Birds is a veritable indie masterpiece.
-Itay K
link here
Female fronted indie rock band with goth tendencies with music and a vocalist who sounds like a cross between Chrissie Hynes (The Pretenders), Lauren Hoffman, Maery Lanahan and Blanca Rojas (Ilya). I really love the music from the four aforementioned bands / artists so this was pretty much a sure thing. You have to be in the right frame of mind to like this band as song titles like "Vultures", "Darkness is Light" and Death Birds in the Trees" will attest.
But if you like the darker side, like me, you will be enamored.
link not available right now, but coming.
House of Badger are oft compared to Echo and the Bunnymen and Siouxsie And The Banshees. Those are apt comparisons, but HOB rocks a little harder. The band sports a vintage 80's aesthetic boosted by aggressive spurts of guitar interspersed with Amanda Kell's sparse lead vocal arranegements. Check out their psychedelic show (which includes a video/film show to go along with the tunes) at Audiocinema (226 SE Madison, under Portland's Hawthorne Bridge) this August 30.
-Jeremy Wilson
link here
House of Badger extends from its roots in Portland, Oregon to bring us the album entitled Death Birds. This album possesses a familiar sound, similar to that of Govinda, a band I recently reviewed. However, House of Badger introduces a little bit more innovation and versatility to spice up this album. Although relatively short – seven tracks – it’s short and sweet.
Rather than carry over with the same mundane and tediously repetitive sounds on each track, House of Badger has the same foundation instilled in each song, but adds a little bit extra to each track making for a nice, roundabout, diverse sound. Compared to Govinda, the sound is similar, however, the vocals are much more prominent and frequent, although it sounds fairly distant.
Each track fluctuates in pace and tempo while not steering too far away from the median. Some are slow and others start slow and have a nice buildup into a faster tempo without falling into a realm that’s too heavy and overdone. There’s a lot of stop and go, rather than one full stream of music blaring out of the speakers.
The tracks seem to foster a supreme feeling of tranquility and full peace of mind. It’s rather serene as the range extends to far reaches, spread apart, capturing a joyous experience. Even with its short runtime of just barely making it over 30 minutes, I think House of Badger could have added a little bit more. Some of their songs on the album would fit into a movie soundtrack during times of hardship and even in times of a rising pick-me-up. House of Badger captures a rather calming and chilly sound that puts you at ease.
-John Berkowitz
link here
Here's a recipe idea for you. Mix two parts Echo and The Bunnymen with one part Wire, add a pinch of Siouxsie and The Banshees and top it off with a BAMM! of Sleepytime Gorilla Museum. Done with care and baked to a golden brown, you get House of Badger.
Fresh out of the studio this week, the band will perform songs from their upcoming release, "Death Birds." Employing everything from strange Middle Eastern instruments to theremins down to your good old Les Paul, you're sure to be reminded of something from your past musical adventures ... or adventures from your past life.
-Andy Young
link here
House of Badger are an arty band that seem to have a lot of fun, which is a refreshing twist... I need good, muscular tuneage - nothing more, nothing less. HOB can, and will, provide that. Everything else is secondary.
link here
As the harvest moon sets in over Portland, and scenesters prepare for seasonal depression, a collective of performing artists calling themselves “Suicide Watch” invites you to embrace the darkness over a cocktail at the Someday Lounge on the Monday before Halloween beginning at 9 pm.
SomedayLounge’s lush surroundings are the perfect backdrop for this event, which will include disturbing, eerie film footage (on the big screen) from local filmmakers Amanda Kelly, Dan Wegman and Joe Demaree, and a live reading of Edgar Allen Poe’s The Tell Tale Heart. All of this and four singer-songwriters who aim to make your hearts bleed into your vodka tonic, so maybe just forget the tonic and skip straight to the good stuff.
This year’s Suicide Watch Line-up will feature Portland’s lovable heart-breakin’ icon Michael Dean Damron (I Can Lick Any SOB In The House), and original spoken works by Garett Strickland of Portland’s art collaborative, Phase One: words + Music. Also featured will be Polly High vocalist Karen Page and universal time traveler Madame Positron, followed by a headlining performance by musician/visual artist Amanda Kelly, fearless leader of the multimedia experience known as House of Badger.
Expect whiskey drink specials, freshly carved jack-o-lanterns, red velvet and Nosferatu. Someday Lounge has a full food menu and an extensive cocktail lost from which to pick your poison. Bring your sorrows, pull up a leather couch and share in the misery.
A Night of Macabre Performance
Monday, October 29 @ 9 pm
Someday Lounge 125 NW 5th 21+
-Julian Chadwick
link here
IMAGES
dude.... this site totally validates. check it.
